i am planning to learn piano as a second instrument and get some classical lessons to develop keyboard technique. then i will probably go to a jazz pianist for some lessons to learn comping.

given that i already play jazz do you think that is enough in terms of piano lessons? i figure i can solo using what i already know as a sax player. other areas i can study by myself like transcriptions, voicings, learning tunes, sight reading, patterns/licks etc.
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yes - have fun!
that plan is fine.  but taking classical lessons first is not a nessesary step.  the best jazz teachers i have had have much more advanced technique than the best classical instructors i have had.   the only reason to study with a classical pianist is to study classical musical with someone who has expertise in that repertoire.  most jazz instructors will have a begining student learn a certains amount of classical repetoire while learning the fundamentals of hands together sight reading.  this does not require a classical pianio specialist to teach.
basic piano lessons are neither "jazz" nor "classical".
you first need to learn the fundamentals of playing the instrument.  it does not matter whether the teacher is primarly a jazz player or a classical player.  they need to be qualified to teach you how to play the instrument.  learning proper technique, scale fingerings, etc. is general knowledge, not just "classical".
in addition to all the above excellent advice/suggestions-check this out as a place to start-

scroll down to the piano voicings section.....then i'd recommend a thorough examination of everything here at ljp,especially in the files,etc...which will give you a lot of the actual usable stuff to practice.......
thanks. btw, has anyone used the transcriptions of jamie aebersold comping? i've heard he is a very good comper, better than a lot of pianists. he uses relatively few voicings but uses them well.
do not use the aebersold ones. that comping is not worth learning. comping is accompanying a soloist; all those voicings and rhythms without context is completely worthless. the comping's not that great; transcribe wynton kelly or herbie hancock's comping!
i'd respectfully disagree-as a starting out point to get to being able to understand jazz piano voicings concept/read two staves/learn about range,etc.the aebersold transcriptions are ok,then you can expand your concept of what's involved by moving into hh/wk etc........a lot of what i've seen of the ja stuff(see link below)does in fact deal with the type of principles these guys use....

i gues it'd be worth mentioning that i myself made the same move..from reeds/woodwinds to keyboard.......although i'm by no means a mthrfkr on the piano,i have spent a lot of time figuring out the type of things i'm into hearing and dealing with the instrument to the extent i have as a composer/instrumentalist for a few years now...let's say that i've worked out an approach which,if i were still into practicing like i did for many years before i got into keys vs. composing/investigating things harmonically using the keyboard like i do on most days i'd be able to achieve a decent level of skill..
anyways if you(ken) or anyone else wants some ideas on how to deal with the keyboard coming from a single-note approach,let me know...

one thing i'd like to mention is that if you are going to be working on reading,something i'm just now starting to be able to do competently,i'd suggest taking each hands' part and working it out up to a tempo that allows you to conceptually/aurally understand it,then take on trying to coordinate the two hands...rather than expecting to be able to read a measure as you would as a single note player and getting bogged down in each of the hands' part,leading to an unmusical practicing experience especialy in terms of the rhythms.....
will do. thanks
another thing that works for this(2-hand rhythmic coordination for players coming from a single-note-instrument approach to reading)is to take each hands'part of a given measure and separate them to work each one out,then play the rh/lh part consecutively for a while before combining the two for the actual measure as written..

seems that playing them in alteratiion for a while cements the rhythmic concept involved in each as "equal" re-syncopation,etc..and then they work together easier...........

letting them exist in of themselves first seems to allow whatever part of the brain needs to internalize the subtleties involved to ultimately register the whole thing in itself better and dealing with aspects of execution becomes secondary to the overall concept becoming internalized..........
more about the underlying factors involved in this-

another thing that you can do as part of the process leading to eventual reading/execution of the given measure is to treat each beat as a structure in of itself made up of the rh/lh part "interlocking" correctly in relation to each other in a rhythmic sense while adjusting the overall tempo to execute it;then work on equalizing all four beats......this might be second nature to accomplished readers but if you're starting to get this together and trying to do it "with the metronome",you might want to try this approach for a while first........
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